Building Worlds Through Collaboration

My studio work brings visual storytelling into collaborative production environments. These projects often begin with scripts, story concepts, or existing creative material and develop through character design, environment design, sequential art, visual development, and production problem solving.

Whether working with writers, editors, fellow artists, or students, I approach collaboration as a process of translating ideas into a coherent visual world. That means understanding the needs of the story, establishing designs that other artists can work from, adapting to feedback, and making visual decisions that support the larger production.

Selected Anthology Work

Short-form anthology projects have given me opportunities to work across very different genres, visual languages, and production demands. Unlike a long-running series, a short story has very little time to establish its characters, environment, tone, and narrative stakes. Every page has to contribute.

These projects demonstrate my ability to enter an existing story, identify its essential visual requirements, and develop a readable visual world within a limited page count.

The Way of the Dinosaur

Working from Adam Breen’s script, I developed the characters, environments, technology, and sequential staging for this short science-fiction story. The project required translating written descriptions of an evolved dinosaur civilization into a coherent visual world while carrying the story from futuristic Creta through its time-travel twist and final transformation.

The project gave me an opportunity to move between intimate character acting and much larger ideas of scale—from control rooms and interpersonal exchanges to spacecraft, planetary environments, and the collision of radically different worlds.

After Ragnarok

After Ragnarok called for a very different visual vocabulary: mythology, animals, warriors, monsters, landscape, and the aftermath of an enormous conflict.

The two-page sequence moves from an expansive image of destruction into a quieter narrative built around the ravens moving through the remains of that world. The challenge was balancing dense imagery and spectacle with enough visual hierarchy to guide the reader through the page.

Fly By Night

Fly By Night moves away from fantasy and science fiction into a contemporary setting built around character, environment, and observation.

The story required a more restrained approach to visual storytelling, with airports, city environments, crowds, architecture, clothing, and quieter character interactions carrying much of the narrative. It demonstrates how I adapt the same sequential-art principles to grounded subject matter and a very different dramatic tone.

Collaboration Across Projects

Working on stories created by other writers has reinforced an important part of my practice: the artist is not simply illustrating what has already been decided. Sequential art requires constant interpretation.

A script establishes narrative intent, but the artist must determine composition, staging, acting, pacing, spatial relationships, visual emphasis, and how information moves from panel to panel. Those decisions become part of the storytelling.

That collaborative process also informs my teaching. I want students to understand visual development and sequential art as interconnected production disciplines—where individual creative decisions must ultimately serve the story and communicate clearly to the other people involved in making the work.